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Staging Deaf and Hearing Theatre Productions

Author: Andy Head

Publisher: Springer Nature

Published:

Total Pages: 329

ISBN-13: 3031614461

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Pictures in the Air

Author: Stephen C. Baldwin

Publisher: Gallaudet University Press

Published: 1993

Total Pages: 198

ISBN-13: 9781563681400

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Most of all, Pictures in the Air portrays the true, ongoing heritage of the National Theatre of the Deaf - the fine performers, directors, and playwrights that for the first time had a national stage of their own upon which to showcase their skills. This book shows that they have succeeded, in triumph after triumph, for the past quarter of a century.

Plays of Our Own

Author: Willy Conley

Publisher: Taylor & Francis

Published: 2022-12-30

Total Pages: 470

ISBN-13: 1000800679

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Plays of Our Own is the first anthology of its kind containing an eclectic range of plays by Deaf and hard-of-hearing writers. These writers have made major, positive contributions to world drama or Deaf theatre arts. Their topics range from those completely unrelated to deafness to those with strong Deaf-related themes such as a dreamy, headstrong girl surviving a male-dominated world in Depression-era Ireland; a famous Spanish artist losing his hearing while creating his most controversial art; a Deaf African-American woman dealing with AIDS in her family; and a Deaf peddler ridiculed and rejected by his own kind for selling ABC fingerspelling cards. The plays are varied in style – a Kabuki western, an ensemble-created variety show, a visual-gestural play with no spoken nor signed language, a cartoon tragicomedy, historical and domestic dramas, and a situation comedy. This volume contains the well-known Deaf theatre classics, My Third Eye and A Play of Our Own. At long last, directors, producers, Deaf and hearing students, professors, and researchers will be able to pick up a book of "Deaf plays" for production consideration, Deaf culture or multicultural analysis, or the simple pleasure of reading.

Hearing Difference

Author: Kanta Kochhar-Lindgren

Publisher:

Published: 2006

Total Pages: 224

ISBN-13:

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This engrossing studyinvestigates the connections between hearing and deafness in experimental, Deaf, and multicultural theater. Author Kanta Kochhar-Lindgren focuses on how to articulate a Deaf aesthetic and how to grasp the meaning of moments of "deafness" in theater works that do not simply reinscribe a hearing bias back into one's analysis. She employs a model using a device for cross-sensory listening across domains of sound, silence, and the moving body in performance that she calls the "third ear." Kochhar-Lindgren then charts a genealogy of the theater of the third ear from the mid-1800s to the 1960s in examples ranging from Denis Diderot, the Symbolists, the Dadaists, Antonin Artaud, and others. She also analyzes the work of playwright Robert Wilson, the National Theatre of the Deaf, and Asian American director Ping Chong. She shows how the model of the third ear can address not only deaf performance but also multicultural performance, by analyzing the Seattle dance troupe Ragamala's 2001 production of Transposed Heads, which melded classical South Indian use of mudras, or hand gestures, and ASL signing. The shift in attention limned in Hearing Difference leads to a different understanding of the body, intersubjectivity, communication, and cross-cultural relations, confirming it as a critically important contribution to contemporary Deaf studies.

Deaf Side Story

Author: Mark Rigney

Publisher: Gallaudet University Press

Published: 2003

Total Pages: 236

ISBN-13: 9781563681455

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The 1957 classic American musical West Side Story has been staged by countless community and school theater groups, but none more ambitious than the 2000 production by MacMurray College, a small school in Jacksonville, Illinois. Diane Brewer, the new drama head at the college, determined to add an extra element to the usual demands of putting on a show by having deaf students perform half of the parts. Deaf Side Story presents a fascinating narrative of Brewer and the cast's efforts to mount this challenging play. Brewer turned to the Illinois School for the Deaf (ISD) to cast the Sharks, the Puerto Rican gang at odds with the Anglo Jets in this musical version of Romeo and Juliet set in the slums of New York. Hearing performers auditioned to be the Jets, and once Brewer had cast her hearing Tony and deaf Maria, then came the challenge of teaching them all to sing/sign and dance the riveting show numbers for which the musical is renowned. She also had to manage a series of sensitive issues, from ensuring the seamless incorporation of American Sign Language into the play to reassuring ISD administrators and students that the production would not be symbolic of any conflict between Deaf and hearing people. Author Mark Rigney portrays superbly the progress of the production, including the frustrations and triumphs of the leads, the labyrinthine campus and community politics, and the inevitable clashes between the deaf high school cast members and their hearing college counterparts. His representations of the many individuals involved are real and distinguished. The ultimate success of the MacMurray production reverberates in Deaf Side Story as a keen depiction of how several distinct individuals from as many cultures could cooperate to perform a classic American art form brilliantly together.